Me and My Lisa Larson/Lisa Larson
Lisa Larson
Gallery "NOKOGIRI" is pleased to present "Me and My Lisa Larson / Lisa Larson" an exhibition in honor of the Swedish ceramic artist Lisa Larsson, who passed away on March 11, 2024. The exhibition is a retrospective of Lisa's life from the perspective of those who had contact with her.The exhibition will include previously unseen materials such as private photographs, prototypes from the production process, and recollections of those involved. The exhibition will commemorate Lisa Larson in a way that is different from the usual exhibitions of her works.Please stop by TONKACHI,6, a gallery store adjacent to the exhibition, which will feature Lisa Larson's items.
・About the exhibition
Lisa said, "Life is best from 60 to 80, a span of 20 years." When I heard that, I was surprised, thinking, "Is it really that late in life?"
I worked with Lisa through two periods, starting from her "best time" and ending in her later years, when she began to say, "Growing old is tough."
The early days seem like a dream now. We worked together, just the two of us, exchanging faxes and starting with small tasks. There was no marketing, no deadlines, no estimates. It was a mix of fantasies and undifferentiated products, like a correspondence blended with a bit of work.
I was in my thirties then, while my partner-to-be at Tonkachi, K, was in his mid-twenties, deeply immersed in work. The company was then a precursor to Tonkachi, and though I was never called a designer, I was doing such work. I learned there that nothing is more interesting than a job that entertains people and others alike, and that blurring the lines between public and private life is a way to freedom. And beyond that, I learned everything by working with Lisa. I experienced situations where, despite being an inadequate artist, I had to work hand in hand with her.
I admired Lisa. I loved cute and fashionable things, so her work seemed to be at the pinnacle of that. So, it wasn't a forward-thinking business mindset that drove me to work with her. It was a sudden need to contact her, to write fan letters officially approved by the company, stemming from reflexively mentioning her name in a job that emerged out of nowhere.
From there, time flew by quickly. Only about 1% of that time remains recorded, and the rest has flown away somewhere. This exhibition is a fragment of that 1% record. I wonder if the 99% that flew away became flowers or trees wherever they landed (I hope so).
I liked the time when I was corresponding with Lisa. It was a time when I was myself. What I want, then and now, is something like a love that starts from correspondence. Surely, I was much purer then, and the company, society, and my comrades were a bit more innocent than they are now.
In the last few years, we couldn't work with Lisa as we used to. But her children checked on her condition and set up meetings for us, allowing us to continue working. I think this was a dedication that only family could provide. Thanks to them, Lisa and I were able to work until the very end as much as possible. I want to believe this was important for Lisa. I think there are places you can only reach through work like correspondence. I want to thank Lisa and all her family.
I worked with Lisa through two periods, starting from her "best time" and ending in her later years, when she began to say, "Growing old is tough."
The early days seem like a dream now. We worked together, just the two of us, exchanging faxes and starting with small tasks. There was no marketing, no deadlines, no estimates. It was a mix of fantasies and undifferentiated products, like a correspondence blended with a bit of work.
I was in my thirties then, while my partner-to-be at Tonkachi, K, was in his mid-twenties, deeply immersed in work. The company was then a precursor to Tonkachi, and though I was never called a designer, I was doing such work. I learned there that nothing is more interesting than a job that entertains people and others alike, and that blurring the lines between public and private life is a way to freedom. And beyond that, I learned everything by working with Lisa. I experienced situations where, despite being an inadequate artist, I had to work hand in hand with her.
I admired Lisa. I loved cute and fashionable things, so her work seemed to be at the pinnacle of that. So, it wasn't a forward-thinking business mindset that drove me to work with her. It was a sudden need to contact her, to write fan letters officially approved by the company, stemming from reflexively mentioning her name in a job that emerged out of nowhere.
From there, time flew by quickly. Only about 1% of that time remains recorded, and the rest has flown away somewhere. This exhibition is a fragment of that 1% record. I wonder if the 99% that flew away became flowers or trees wherever they landed (I hope so).
I liked the time when I was corresponding with Lisa. It was a time when I was myself. What I want, then and now, is something like a love that starts from correspondence. Surely, I was much purer then, and the company, society, and my comrades were a bit more innocent than they are now.
In the last few years, we couldn't work with Lisa as we used to. But her children checked on her condition and set up meetings for us, allowing us to continue working. I think this was a dedication that only family could provide. Thanks to them, Lisa and I were able to work until the very end as much as possible. I want to believe this was important for Lisa. I think there are places you can only reach through work like correspondence. I want to thank Lisa and all her family.
Representing Tonkachi,
M.S
M.S
・Information
Exhibition Title:Me and My Lisa Larson
Artist:Lisa Larson
Dates:Fri, April 12, 2024 - Sun, June 2, 2024
*No reservation required on Saturdays, Sundays and public holidays.
On Wed, Thu and Fri, advance reservation is required via the web.
Opening Hours: 12 pm-7 pm
Closed: Mondays and Tuesdays (Open if a public holiday)
Location: NOKOGIRI
2F, 5-17 Sarugakucho, Shibuya, Tokyo 150-0033
There is no elevator.
[email protected]
Please make a reservation here.
Artist:Lisa Larson
Dates:Fri, April 12, 2024 - Sun, June 2, 2024
*No reservation required on Saturdays, Sundays and public holidays.
On Wed, Thu and Fri, advance reservation is required via the web.
Opening Hours: 12 pm-7 pm
Closed: Mondays and Tuesdays (Open if a public holiday)
Location: NOKOGIRI
2F, 5-17 Sarugakucho, Shibuya, Tokyo 150-0033
There is no elevator.
[email protected]
Please make a reservation here.
・About Artist
Lisa Larson
ceramics artist
Born on September 9, 1931 in southern Sweden. After studying at the School of Design and Crafts, Faculty of Arts, Gothenburg University, she joined a Swedish ceramics manufacturer Gustavsberg at the invitation of Stig Lindberg, the art director of the company.
She became a key designer in Gustavsberg's golden age. In 1952, she married painter Gunnar Larsson, and in 1980 she became a freelance designer, working with numerous clients. In 2022, she was awarded a government medal for her many years of outstanding work in renewing and enriching Swedish arts and crafts. She died on March 11, 2024.
ceramics artist
Born on September 9, 1931 in southern Sweden. After studying at the School of Design and Crafts, Faculty of Arts, Gothenburg University, she joined a Swedish ceramics manufacturer Gustavsberg at the invitation of Stig Lindberg, the art director of the company.
She became a key designer in Gustavsberg's golden age. In 1952, she married painter Gunnar Larsson, and in 1980 she became a freelance designer, working with numerous clients. In 2022, she was awarded a government medal for her many years of outstanding work in renewing and enriching Swedish arts and crafts. She died on March 11, 2024.
・Exhibition View
